Armando Menicacci

Romain Kremer

en:trance #3_paris

en:trance est un projet pluridisciplinaire qui associe workshops, exposition, performances et conférences dans les domaines des arts plastiques, du spectacle vivant, du design, de la mode et de la musique. Il s'est développé depuis 2002 en plusieurs étapes et repose sur des partenariats solides et ciblés dont chaque événement est nourri, tant au niveau de la création, de la production, que de la diffusion.


En partenariat avec le Centre National de la Danse, anomos/mosign propose 2 workshops qu'il souhaite transformer en actes participatifs et partagés. Des projets d'installation et de performance y seront élaborés et présentés lors d'un événement et d'une exposition qui auront lieu en décembre 2006 à l'Observatoire de Paris (date à confirmer).






PREMIER WORKSHOP - du 16 au 20 octobre 2006
> Armando Menicacci, anomos/mediadanse (I)
> Andrea Cera, musicien, compositeur (I)
> Christian Delecluse, programmeur (F)


Dans le cadre de cet atelier, les intervenants travaillent avec les participants autour d'improvisations structurées en fonction du monde sonore qu'elles génèrent. Le workshop abouti à la réalisation d'une installation sonore interactive dans laquelle les sons enregistrés lors des improvisations sont déclenchés et spatialisés par les mouvements du spectateur évoluant dans l'obscurité.


http://web.cnd.fr/index_html?page=http://www.cnd.fr/CND/formation_professionnelle/formationsthematiques/ile_de_france/entrance-workshops






SECOND WORKSHOP - du 13 au 24 novembre 2006
> Christian Rizzo, chorégraphe (F)
> Romain Kremer, fashion designer (F)


Artiste du décloisonnement artistique, Christian Rizzo a déjà fait appel au champ lexical et iconographique de la mode, et au vêtement en particulier, pour questionner l'image dans notre société post-moderne ; un corps subtil composé de signes dont la place n'exclut jamais l'impact joué par la perception de l'espace scénique et de l'environnement du plateau.
Il est rejoint par Romain Kremer, fashion designer touche-à-tout déjà auteur de trois performances, dont une à la Fondation Cartier en 2005 et la dernière pour le festival des Arts de la Mode de Hyères en avril 2006. Le vêtement y occupe une place importante en tant qu'élément dramatique et plastique


http://web.cnd.fr/index_html?page=http://www.cnd.fr/CND/formation_professionnelle/formationsthematiques/ile_de_france/entrance-workshops




Informations - Emile Abinal (anomos/mosign) > emile@anomos.org
Inscriptions - Anne Lucas (CND) > anne.lucas@cnd.fr




en:trance #3 est un projet anomos/mosign


a n o m o s
mediadanse/mosign
12-14, rue Lechevin
F- 75011 Paris
T/ +33 1 43 66 15 90
F/ +33 1 48 06 06 12
E/ emile@anomos.org


http://www.anomos.org

Mascha Mioni

Art to Wear

Livro "Art to wear"

Art to Wear 1

Mascha Mioni, 1995
ISBN 3-9520943-0-7
greina Verlag
USD 39.00 / CHF 45.00 / Euro 29.00
Photographer Asy Asendorf
Stylists James Steyn & Patrizio Braun
Models Denice Piccinini & Nadine Schoenauer

Introduction: Dr. A. Wanner, Textilmuseum, St. Gallen, Switzerland
21x 29 cm, 64 pages, linen bound
29 full page illustrations in color of Mascha Mioni's Art to Wear creations 1990-1995
german & english text

Artigo sobre Corpos nos Games

The New Mediated (Em)Body Is My Others

By Andrew Bucksbarg

Ver: http://www.gameology.org/alien_other/new_mediated_em_body

Abstract:
The imaginary of the networked, augmented self is unitary, but the practice of this multi-user self, this multiplicity of being in the cybernated, social dataspace is far from a cohesive, organic and maintained system. Networked identity is supplemental, like a link on a page, a page on a site, a node on a network or a server in a circuitous expanse. Not only is dataspace continually invaded by the process of this other, but this realm of media saturation requires and reproduces a myriad of othernesses that shed and collect in archives and databases. These fragments of self assault the perceived purity of identity. Networked identity embodies competing notions of fluidity and fixity, of limitation and expanse, augmentation, embodiment/disembodiment, multiplicity, temporal change and stagnation and otherness. When we think about this reflectance, we are confronted with the problematics of this newly mediated self. We are challenged with the endlessly configurable in menu options and avatars. We engage in the practice of compressing ourselves into blurb-like containers, such as “about me,” and profiles that begin as templates of favorite movies and music, which need continual updating. We exist somewhere in the detritus memories of user names and passwords and abandoned email accounts collecting endless amounts of spam. We utilize the reflectance of media to both understand our use of the media and how we are extended through their use. Aside from the freshness and excitement of new media, we are left to wonder how these complex systems lack and how they also delimit us, and in this process, produce something supplemental and other.

Archives of identifiers must be created and maintained; they are enacted upon us based upon corporate, gendered or racial components, but they lack in the biological. Their machinic logic is the cement from which we cannot escape and their supplement is the fracture we continuously attempt to heal. Even their evolution into the organic, the attempts at a biologic, are the offspring of this otherness, an artificial life, and an intermediate to our being.

This paper presentation will take a playful, creative look at network identity and the thought process of what it means to manage multiple user names, profiles and identities and the fixity of these databases of identifiers and how this multiplicity relates to otherness, as well as intermediate states of being.

Artigo DESPACHOS NO MUSEU

DESPACHOS NO MUSEU sabe-se lá o que vai acontecer...
SUELY ROLNIK

in:
http://www.scielo.br/scielo.php?pid=S0102-88392001000300002&script=sci_arttext



"Artistas são por princípio anômalos: subjetividades vulneráveis aos movimentos da vida, cuja obra é a cartografia singular dos estados sensíveis que sua deambulação pelo mundo mobiliza."

Obra de Tunga no MorumbiFashion

"Instauração" de Tunga em 1997.

A "instauração" de Tunga utilizou modelos para tratar de temas como sedução, paralisia e narcisismo.
Na escuridão, cinco modelos entram carregando lampiões e vestindo tecidos brilhantes cor de areia. Em seguida, as moças se despem e transformam a roupa em tenda. Do alto, descem redes com materiais que são usados para que cada modelo molde sua própria cauda de sereia. As caudas são elaboradas com papel alumínio.


A "instauração" de Tunga foi registrada pelo videoartista Arthur Omar.